The Glass Castle (30 page)

The first was that I'd had my last whipping. No one was ever going to do that to me again. The second was that, like Lori, I was going to get out of Welch. The sooner, the better. Before I finished high school, if I could. I had no idea where I would go, but I did know I was going. I also knew it would not be easy. People got stuck in Welch. I had been counting on Mom and Dad to get us out, but I now knew I had to do it on my own. It would take saving and planning. I decided the next day I'd go to G. C. Murphy and buy a pink plastic piggy bank I'd seen there. I'd put in the seventy-five dollars I had managed to save while working at Becker's Jewel Box. It would be the beginning of my escape fund.

THAT FALL, TWO GUYS
showed up in Welch who were different from anyone I'd ever met. They were filmmakers from New York City, and they'd been sent to Welch as part of a government program to bring cultural uplift to rural Appalachia. Their names were Ken Fink and Bob Gross.

At first, I thought they were joking. Ken Fink and Bob Gross? As far as I was concerned, they might as well have said their names were Ken Stupid and Bob Ugly. But Ken and Bob weren't joking. They didn't think their names were funny at all, and they didn't smile when I asked if they were putting me on.

Ken and Bob both talked so fasttheir conversation filled with references to people I'd never heard of, like Stanley Kubrick and Woody Allenthat it was sometimes hard to follow them. Although they had no sense of humor about their names, Ken and Bob did like to joke a lot. It wasn't the sort of Welch High humor I was used toPolack jokes and guys cupping their hand under their armpit to make fart noises. Ken and Bob had this smart, competitive way of joking where one would make a wisecrack and the other would have a comeback and the first would have a retort to the comeback. They could keep it up until my head spun.

One weekend Ken and Bob showed a Swedish film in the school auditorium. It was shot in black and white, and had subtitles and a plot heavy on symbolism, so fewer than a dozen people came, even though it was free. Afterward, Lori showed Ken and Bob some of her illustrations. They told her she had talent and said if she was serious about becoming an artist, she needed to go to New York City. It was a place of energy and creativity and intellectual stimulation the likes of which we'd never seen. It was filled with people who, because they were such unique individuals, didn't fit in anywhere else.

That night Lori and I lay in our rope beds and discussed New York City. The things I had heard always made it sound like a big, noisy place with a lot of pollution and mobs of people in suits elbowing one another on the sidewalks. But Lori began to see New York as a sort of Emerald Citythis glowing, bustling place at the end of a long road where she could become the person she was meant to be.

What Lori liked most about Ken and Bob's description was that the city attracted people who were different. Lori was about as different as it was possible to be in Welch. While almost all the other kids wore jeans, Converse sneakers, and T-shirts, she showed up at school in army boots, a white dress with red polka dots, and a jean jacket with dark poetry she'd painted on the back. The other kids threw bars of soap at her, pushed one another into her path, and wrote graffiti about her on the bathroom walls. In return, she cursed them out in Latin.

At home she read and painted late into the night, by candlelight or kerosene lamp if the electricity was turned off. She liked Gothic details: mist hanging over a silent lake, gnarled roots heaving up from the earth, a solitary crow in the branches of a bare tree on the shoreline. I thought Lori was amazing, and I had no doubt she would become a successful artist, but only if she could get to New York. I decided I wanted to go there, too, and that winter we came up with a plan. Lori would leave by herself for New York in June, after she graduated. She'd settle in, find a place for us, and I'd follow her as soon as I could.

I told Lori about my escape fund, the seventy-five dollars I'd saved. From now on, I said, it would be our joint fund. We'd take on extra work after school and put everything we earned into the piggy bank. Lori could take it to New York and use it to get established, so that by the time I arrived, everything would be set.

Lori had always made very good posters, for football rallies, for the plays the drama club put on, and for candidates running for student council. Now she started doing commissioned posters for a dollar-fifty apiece. She was too shy to solicit orders, so I did it for her. Lots of kids at Welch High wanted customized posters to hang on their bedroom wallsof their boyfriend's or girlfriend's name, of their car or their astrological sign or their favorite band. Lori designed the names in big fat overlapping three-dimensional letters like the kind on rock albums, then painted them in Day-Glo colors, outlined in india ink so the letters popped, and surrounded them with stars and dots and squiggly lines that made the letters seem like they were moving. The posters were so good that word of mouth spread, and soon Lori had such a backlog of orders that she was up working until one or two every morning.

I made money babysitting and doing other kids' homework. I did book reports, science essays, and math. I charged a dollar per assignment and guaranteed at least an A or the customer was entitled to a full refund. After school, I babysat for a dollar an hour and could usually do the homework then. I also tutored kids for two dollars an hour.

We told Brian about the escape fund, and he pitched in, even though we hadn't included him in our plans because he was only in the seventh grade. He mowed lawns or chopped wood or cut hillside weeds with a scythe. He worked after school until the sun went down and all day Saturday and Sunday and came home with his arms and face scratched from the brush he'd cleared. Without looking for thanks or praise, he quietly added his earnings to the pig, which we named Oz.

We kept Oz on the old sewing machine in the bedroom. Oz had no plugged hole on the bottom, and the slot on the top was too narrow to work bills out, even if you used a knife, so once you'd put money into Oz, it stayed there. We tested it to make sure. We couldn't count the money, but because Oz was translucent, we could see our cash accumulating inside when we held him up to the light.

* * *

One day that winter, when I came home from school, a gold Cadillac Coupe DeVille was parked in front of the house. I wondered if the welfare agency had found some millionaires to be our foster parents and they had arrived to take us away, but Dad was inside the house, twirling a set of keys on his finger. He explained that the Cadillac was the new official Walls family vehicle. Mom was carrying on about how it was one thing to live in a three-room shack with no electricity, since there was a certain dignity in poverty, but to live in a three-room shack and own a gold Cadillac meant you were bona fide poor white trash.

"How'd you get it?" I asked Dad.

"One helluva good poker hand," he said. "and an even better bluff."

We'd owned a couple of cars since we'd been in Welch, but they were true buckets of bolts, with shuddering engines and cracked windshields, and as we drove along, we could see the blur of the asphalt through the rusted-out floor panels. Those cars never lasted more than a couple of months, and like the Oldsmobile we'd driven from Phoenix, we never named them, much less got them registered and inspected. The Coupe DeVille actually had an unexpired inspection sticker. It was such a beauty that Dad declared the time had come to revive the tradition of naming our cars. "That there Caddy," he said. "strikes me as Elvis."

It crossed my mind that Dad ought to sell Elvis and use the money to install an indoor toilet and buy us all new clothes. The black leather shoes I had bought for fifty cents at the Dollar General Store were held together with safety pins, which I'd tried to blacken with a Magic Marker so you wouldn't notice them. I'd also used Magic Markers to make colored blotches on my legs that I hoped would camouflage the holes in my pants. I figured that was less noticeable than if I sewed on patches. I had one blue pair and one green pair, so my legs, when I took my pants off, were covered with blue and green spots.

But Dad loved Elvis too dearly to consider selling it. And the truth was, I loved Elvis almost as much. Elvis was as long and sleek as a racing yacht. It had air-conditioning, gold shag upholstery, windows that went up and down with the push of a button, and a working turn signal, so Dad didn't have to stick his arm out. Every time we drove through town in Elvis, I'd nod graciously and smile at the people on the sidewalk, feeling like an heiress. "You've got true noblesse oblige, Mountain Goat," Dad would say.

Mom grew to love Elvis, too. She hadn't gone back to teaching and instead spent her time painting, and on the weekends we began to drive to craft fairs all throughout West Virginia: shows where bearded men in overalls played dulcimers and women in granny dresses sold corncob back scratchers and coal sculptures of black bears and miners. We filled Elvis's trunk with Mom's paintings and tried to sell them at the fairs. Mom also drew pastel portraits on the spot for anyone willing to pay eighteen dollars, and every now and then she got a commission.

We all slept in Elvis on those trips, because a lot of times we made only enough to pay for the gas, or not even that. Still, it felt good to be on the move again. Our trips in Elvis reminded me how easy it was to pick up and move on when the urge struck. Once you'd resolved to go, there was nothing to it at all.

AS SPRING APPROACHED
and the day of Lori's graduation drew closer, I lay awake at night, thinking about her life in New York City. "In exactly three months," I said to her, "you'll be living in New York." The following week, I said. "In exactly two months and three weeks, you'll be living in New York."

"Would you please shut up," she said.

"You're not nervous, are you?" I asked.

"What do you think?"

Lori was terrified. She was not sure what she was supposed to do once she got to New York. That had always been the vaguest part of our escape plan. Back in the fall, I'd had no doubt that she could get a scholarship to one of the city's universities. She'd been a finalist for a National Merit Scholarship, but she'd had to hitchhike into Bluefield to take the test, and she got rattled when the trucker who picked her up put the moves on her; she arrived nearly an hour late and botched the test.

Mom, who supported Lori's New York plans and kept saying she wished she were going to the big city herself, suggested that Lori apply to the Cooper Union art school. Lori put together a portfolio of her drawings and paintings, but just before the submissions deadline, she spilled a pot of coffee on them, which made Mom wonder aloud if Lori had a fear of success.

Then Lori heard about a scholarship sponsored by a literary society for the student who created the best work of art inspired by one of the geniuses of the English language. She decided to make a clay bust of Shakespeare. She worked on it for a week, using a sharpened Popsicle stick to shape the slightly bulging eyes and the goatee and earring and longish hair. When it was finished, it looked exactly like Shakespeare.

That night we were all sitting at the drafting table watching Lori put the final touches on Shakespeare's hair when Dad came home drunk. "That does indeed resemble old Billy," Dad said. "Only thing is, as I been telling you, he was a goddamn fake."

For years, every time Mom brought out Shakespeare's plays, Dad would carry on about how they'd been written not by William Shakespeare of Avon but by a bunch of people, including someone named the Earl of Oxford, because no single person in Elizabethan England could have had Shakespeare's thirty-thousand-word vocabulary. All this bunk about little Billy Shakespeare, Dad would say, the great genius despite his grammar-school education, his small Latin and less Greek, was a lot of sentimental mythology.

"You're helping perpetuate this fraud," he told Lori.

"Dad, it's just a bust," Lori said.

"That's the problem," Dad said.

He studied the sculpture, then suddenly reached over and smeared off Shakespeare's mouth with his thumb.

"What the hell are you doing?" Lori cried out.

"It's no longer
just
a bust," Dad said. "Now it has symbolic value. You can call it
Mute Bard
."

"I spent days on that," Lori shouted. "And you've ruined it!"

"I elevated it," Dad said. He told Lori he would help her write a paper that would demonstrate that Shakespeare's plays had multiple authors, like Rembrandt's paintings. "By God, you'll set the literary world on edge," he said.

"I don't want to set the world on edge!" Lori screamed. "I just want to win a stupid little scholarship!"

"Goddammit, you're in a horse race, but you're thinking like a sheep," Dad said. "Sheep don't win horse races."

* * *

Lori didn't have the spirit to rework the bust. The next day she smushed the clay into a big glob and left it on the drafting table. I told Lori that if she hadn't been accepted into an art school by the time she graduated, she should go to New York anyway. She could support herself with the money we'd saved up until she found a job, and then she could apply to a school. That became our new plan.

Everyone was mad at Dad, which gave him a case of the sulks. He said he didn't know why he even bothered to come home anymore, since he no longer got the slightest bit of appreciation for his ideas. He insisted he wasn't trying to keep Lori from leaving for New York, but if she had the sense that God gave a goose, she would stay put. "New York is a sorry-ass sinkhole," he said more than once. "filled with faggots and rapists." She'd get mugged and find herself on the streets, he warned, forced into prostitution and winding up a drug addict like all those runaway teenagers. "I'm only telling you this because I love you," he said. "And I don't want to see you hurt."

One evening in May, when we'd been saving our money for almost nine months, I came home with a couple of dollars I'd made babysitting and went into the bedroom to stash them in Oz. The pig was not on the old sewing machine. I began looking through all the junk in the bedroom and finally found Oz on the floor. Someone had slashed him apart with a knife and stolen all the money.